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Not sure which forum this is best suited too.. but every artist seems to have a different way of painting.
I’m interested in hearing the different ways people here create an oil painting. Whether that be alla-prima, layers, griselle, large brushes, tiny rigger, etc..
I have painted in layers in all the mediums of paint I have used. I like modifying colors with glazes and sometimes get a bit carried away with it.
I am getting used to drawing with paint in oils. I used to use a pastel pencil to draw more difficult images in acrylics but found out these don’t work on even dry oils. This bothered me but then I found out how nice it is and faster and easier to draw with oil paint and just erase with a rag. Also nice to find out when I was not able to use a ruler to draw some houses in oils that they came out just fine anyhow.
My brushes are just average size, I think, but I do like to paint with brights more than any other shape. I mostly stay away from drawing very fine lines like with riggers because my hands shake from age. If something needs fine lines, I paint something else.
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A toned canvas or panel (sometimes I’ll leave a patch white if I know I want a real glow under that area), then alla prima with the largest brushes I feel I can get away with, and occasionally a glaze or two, but not usually.
Because I have a tendency to get too fussy with details, much to the detriment of the painting, I’ve developed the habit of standing back from the easel and holding the brush at the tip (I use long-handled brushes), and also removing my glasses. This helps me to see the forest rather than the trees, and it has really improved my painting.
Pat
Hey, thanks, Pat. Those look like very good ideas and I now plan to try them myself. During a painting session, I often walk back 6-10 feet or so once in a while to judge values and composition, but I’ve never tried actually standing back further from the easel while painting.
Personally, I [em]want[/em] to paint loosely, but can easily get fascinated by detail. Part of the solution for that is using larger brushes, but the thing that for me helps the most is using a larger canvas, which allows for more gestural painting. It also will make the amount of detail used appear to be less, compared to a small painting of the same subject, even if exactly the same amount of detail is painted. In other words, the perception of detail is all relative to the size of the canvas. And I [em]want[/em] to do alla prima, but because I’m a slow-ish painter, it doesn’t always turn out that way.
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My method is to paint anyhow, anyway, with anything, everything, and whatever it takes to get the painting to look like what I want it to look like, thick, thin, layers, alla prima, glazing fingers, brushes, knives, credit card, tonking with paper towels, wiping out, drip, splatter with a toothbrush, nothing is safe.
If you use non-toxic paints, then try having your cat walk over the wet canvas. But I do not suggest coating your cat with paint and having her roll around on the canvas (something similar has already been done).
My method is to paint anyhow, anyway, with anything, everything, and whatever it takes to get the painting to look like what I want it to look like, thick, thin, layers, alla prima, glazing fingers, brushes, knives, credit card, tonking with paper towels, wiping out, drip, splatter with a toothbrush, nothing is safe.
Lol sounds about right
In my mind, the composition is always changing with every little detail added to the scene, so i really can’t plan for more than a general direction (I’ve tried.) Because of that, I tend to thinly scumble many layers alla prima until I like what I see. Then let it cure for a bit, and in with the highlights.
Paul Moreau
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